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PAATOM

The online edition of'PAATOM'Magazine founded byMN Vijayan-

In the Context of diffusion of imperialist machinery into the Indian Communist movementsPAATOMraises indignant resistance against the hell of ideology and praxis vitiated by the pseudo Marxist goons of imperium.

'PAATOM' is a resistance from the deepest of the racial sanctity of humanity nursed by the leftist political ethos."PAATOM" is the voice of honest determination, that means to uncover the treacherous objects concealed beneath the mystery of hegemonic jargon.

We offer a laborious contribution to the truly humanist interventions that would enlarge the circumference and depth of emotional and intellectual perceptions.

Wednesday, December 22, 2010

The US administration spreads its wings of protection overHimalayas and promises a death by political impotence to India- that has been converted to a tract of fabulous greed. fragmented by financial terrorism . The government of Pakistan is charged with farcical authorship of terrorism and the US masters ask why India is still hesitant to generate an aggressive war against Pakistan.War is the infamous necessity of capitalism , a festival of massacre and a ritual ,celebrated by the Indo- Pak political heritage of unified stupidity .Now the US military reasoning stations locate , the beard and trunk of Bin Laden, sheltered beneath the skull of ISI which has been and which ever would be a satellite of the CIA, and it is a dreadful joke pernicious to to the human sense and sensibility that the ISI ,a brain migrated by the seminal blood of CIA has turned Oedipal murderer of its father sheltering the fancy animal sermonized as-Bin Laden

The past colonial deity of Britain, and the post colonial deity of US ,cast aspersions upon the government of Pakistan., a mutilated body of governance tormented with the blasts of civil terrorism. The anti terrorist campaign is a farce demonstrated by the villains who breed trained terrorism and terrorism is the mortal substitute for a third world war that sustains the horror drama of development staged by financial capitalism. Global terrorism is a bastard inseminated by the lecherous finance of the multinational corporate capitalism . In the third world war ,the baby of war is not born but boiled with in the womb of the peripheral Latin Afro Asian nation states , tearing the visceral tissues and arteries of the mother into horrifying slices of flesh and death .The paternal scoundrel of the post modern genocide is a coward who pours torrential funds for sustainable development and sustainable terrorism that sustains environment unhurt and humans butchered in huge quantum. Yes, terrorism and development are twins bred out of the same paternal blood, a mysterious providence of debauchery and abortion of production

The US informant Headley or Franke ---(or any such servile dog of the US or MNCs who convenes press conference for the Frankes hiding in the terrorist military camp in Bangla Desh ) testifies to the poverty of law and order. in our country. Dons untouchable.!!Reign of arrogance. that cripples the dusted historical memory of justice or an estate nick-named judiciary

We are nervously accustomed to the facts and filth of the IPL gambling which concludes with an auspicious event of of an ex . ministerial wedding.and then the Les Miserable Pakistani players are shot down to the trenches of national disgrace followed by their Indian common wealth game masters bathed in ruthless infamy that fills Kalmadi's belly ; India live in a legendary moment of political immorality substantiated with G2Spectre-(um) Adarsh estate, Issac -(Kairali)- Martin lottery nexus and Lavalin episodes coloured with murder , theft and extortion. We have a complacent history of a slow paced corruption with occasional blasts of a four or sixer like Bofors then the only hideout for the shots that enraged the boundaries were the one and only Swiss Bank. . But now we live in the continuum of sixers - blasted day and night-Lavalin, IPL, CWG, 2GSpectrum, Martin- Kairali nexus and it stands accomplished as the order of the brave new world. . The ministerial kith and kin installed in foreign land resorts-- alleged to be divorced for the convenient defense of massive internationalization of stolen finance--- constitute safe havens invalidating the myth of Swissyphus.

A . bridge dismantled in the common wealth village and a bomb blasted at the nerve centre of the common wealth (that is an absurd mythification of the colonial collective and racial memory).We are mixing memory and mimicry to create psycho-terrorism of the unreal ,applauded by Baudrillad as the only reality.And it is MAYA said the ancients ; the present day existence is a collective and racial response to the Unreal that conceals the one and only reality that is the voluptuous monetary temptation by which we live a dog's life just to insult the sanity and sanctity of humanity

What is the clandestine link between the bridge that is broken down by venereal corruption of finance and the bomb that blasted by the commonwealth village---- both rocking the same venue of obnoxious festivity.Yes finance is the correlative of terrorism and development- The point has been established with vehement atrocity by none other than the ex. Maoist who willingly made himself a fantastic convert to micro finance. See the prologue to Gokul's essay on Maoism in the back pages of this blog: FROM MAOISM TO MICRO FINANCE --Yes a reincarnation of of the beloved Francis of Assissi-a digital transformation from a dacoit to a saint - from Maoism to micro finance!!

Monday, December 13, 2010

Anti Christ: A Visual Mediation of Primitive Minds

CASTRATION ANXIETY IS THE SEMINAL STRUCTURE OF FEELING EMBEDDED IN THE VISUAL TEXTURE OF THE FILM THAT SYNTHESIS THE SURREALIST PRIMITIVE FEAR AND HORROR OF PRESENT DAY REALITY. COMMODIFICATION OF SEX AND SEXUALITY IS THE CAUSATIVE

STRESS OF THE PRESENT DAY CASTRATION ANXIETY. IT IS PROFIT MOTIVATED GLOBALISATION AGENDA WHICH THROWS HUMANS BACK TO THE SPACE OF PRIMITIVE CASTRATION PRACTICES LYING IN THE HORROR OF RACIAL MEMORY

Lars Von Trierregisters the agony of marital sex , the integrityof which been subjected to murderousassaults by the sexuality theses of global capitalism.In the holy nameof multiple diversity ofsex, capitalism has launched a furious propaganda against male -female sex, particularly against monogamy , which has been reduced to a fragment of racial memory excavated from the woods of the collective unconscious. Of course in the present historical context .monogamous sex happensto bea curious fossilof primitivismfor the post modernexercises of market ideology celebrates the inevitability and necessityof the schemes of non productive biology cited inLesbianism gayism , transgenderism,bisexualism and all such perversions that woulddismantle the sexual harmony of marital sex whereas biological fertility can be proceeded only through a marital family design.

The film is a voyage back to the pre-Christian ages.and the emotive dynamo of the visuals is invigorated by the fusion of surrealist frames of hidden reality and the open pictorial discourses of surfacing realism It is a journey back to the conjugal prototypes of Adam and Eve and the irony of a fall, cast them off to the forest reminiscent of Eden.

The metaphor of fall

The theme of fall in the old testament corresponds to the conjugal desire. Here also conjugal desire happens to be a punishable offence but in a situation antithetical to the testament. The god in the testament prohibits the experience and knowledge of sex; the vey act of sex itself is estimated as commitment of sin. The fall of the humans in the paradise is consequential to the novel experience of mating.

In the film, the fall of the child, unattended, drowned to the terror of death. is the cause that incites the panic of sin. The death of the child is a historical event, as in the post modern period , pre marital sex, extra marital sex and homosexuality are preferred to monogamous marital aesthetics of sex. In such a situation paternal identity as well as maternal identity of the child is diffused and it marks the historical death of the child’s familial identity. Child of course is the seminal problem of sexual extravaganza that has been glorified by the capitalist sex theorists. Female playwright Carryll Churchil and the likes feel that child is an unbearable liability in the present context of the feminist speculations of freedom. To do away with the child. is a philosophical issue, and the abortion- killing is an escapist device. We live in a world of condom vending machines ; we are afraid of child birth .How to exclude child from the terrain of the sexual extravaganza of premarital ., extra marital conjugations is a major problem .Homo sexuality is preferred to hetero sexuality as homosexuality liberates humanity from the liability of the child that constitutes the fundamental inevitability of family. The post modern sexuality denounces biological fertility and seeks conjugal pleasure bonded to sterility. The death of the child by fall , marks a negative shift in the civilization. It marks the death of human biology.

The question why conjugal pleasure is prohibited by the archaic power structure supposed to be supernatural, demands historical investigation. The testaments were written not in the period of savagery but at a time of transition from barbarism to civilization, the period which marks the genesis of serfdom. Female as well as male slaves were then castrated with a view to extract maximum labour and subjugation. The ruling tribes that mutilated the genital organs of the slaves sought moral justification .for their treacherous act and the primitive priesthood justified castration by the word of god raising admonition even against the proto typical mating. The slaves, male and female were castrated for the same reason for which bulls are castrated even in the present century. Sterility sterilization and celibacy were honoured in the civilization as per the laws of necessity that sustained the interest of the ruling class. The circumcision of the males and females performed by certain religious sects are rituals emerging from the early castrations inflicted upon the tribes of slaves

Castration Anxiety

Mutilation of the genital organs of the male and female transmutes the structure of feeling in the film diction toward a deep historic horror that digs deep into cerebral recesses of genetic memory. The violence of the nightmarish castration is not an excess of surrealistic grammar but a strand of bleeding ultra reality plucked out of the post-modern marketised existence that annihilates the fertile biology of the humans and its aesthetics realized with the child. Castration anxiety was a reality that haunted the serfdom of archaic times but it is revived in the present by the forces of market economy. Castration is performed as an act of self penance, feeling guilt over the death of the child abandoned at the time of mating. Castration is penance as well as a journey back to the terror of primitivism.

Castration anxiety is the dominant structure of feeling in the film and the foregrounding of castration anxiety is probably an inevitable happening that unfurls from the unconscious of the artist. This foregrounding is spontaneous and not a conspired artifice.

Freud while defining castration fear confines it to the dungeon of infancy, and fancies oedipal situation in the genesis of fear in the male child He argues that the female child suffers the feeling of castration due to the lack of penis which is supposed to be the vital organ of sexuality. His observations are fantastic jokes as he ignores history of sex as well as history of terror emerging from the castration experiences etched in genetic memory. The humans living with butchered genitals is not a gory fantasy but a reality that haunts existence of the present and would haunt the memory of the humans ever.

Why castration fear is fore grounded as the seminal disturbance of the present age? Even T.S. Eliot and a bunch of modernists complained of a devastating monotone of sterility but for false reasons such as the death of spirituality. Spirituality is the antithesis of sexuality and the malignancy of spiritualism in no way injures positive sexuality. But the death of child by condom , abortion or castration is the necessity of capitalist market economy, which advances entreaties for the liquidation of the institution of family.

A barren conjugal pleasure devoid of the terror of child birth is the necessity of the consumerist imagination; a person who enjoys conjugal pleasure with no weight of a family or child is free to enjoy the consumerist pleasure to the bottom level for he or she is not bound to find food, cloth and shelter for a child or family. That is why the cultural affairs minister of Kerala proposed legislation for homo- sexuals who would never produce a biological child that would disturb the freedom of consumerist sterility. In the present age of women empowerment, if one turns a lesbian , or moves by the path of premarital or extra marital exorbitant sex it would undo the emotional design of the family and consequently the commodification of the female body that would boost the potentials of the market at different levels becomes an easy affair. The cause of the eunachs, transgenders and homosexuals , fly high all over the world demonstrating the justice of castrated human existence. The child neglected and ignored against the festival of conjugation falls and dies imposing ulcerous wounds of castration upon the physique and psyche of the parents. Mother hood and father hood are dismantled in the wild; They are never more father and mother as the child ceases to exist The death of the child is a historical inevitability and the father and the mother realizes the fact that they cannot escape the destiny of castration. It is scripted upon their skull by the machines of marketism -- S.Sudhish

FINANCIER IS THE HERO

In the context of financial capitalism, finance , inaggressive moods and designsconspire direct conquest of the heroic space in the Malayalam film industry. Finance, of course, is the hidden motif in the business ofheroism, cultivated by the commercial track of the cinema but in the golden times of the middle class oriented cinema , hero was primarily a philistine musical performer withmuscledbrain fighting against the illicit moneymountains and all the social evils delivered from the caverns of capitalistfilth . At the beginning of the twenty first century, the quotation goonda and murderer,an ugly creature and a side tracked inevitability in the conventional film script, is transformed to a dignifiedmetaphor of heroic pathos aligned to the ennobled monetary terrorism. Saathan displayed by the youngster hero , Prihviraj,( in an excellent filmic excursion on terrorism and pathos— the cathartic pity and terror---) marks the birth of a quotation goonda climbing thepedestal of the tragic hero- deity.. The terror scripted in the fabulous filmic jargon, is sustained by the powerful motif of finance, which formulates the destiny of the narrative-drama. Finance and terror aligned tofinance accumulation, displace the conventional muscled throats of music from the berth of heroicconsummation

Sree Krishnan, the financier of Kuchelan ,darling of the females , the flute player and musical artist. .the warrior majesty who smashes a legion with the sway of single revolving finger, is a condensed archetypal image. The Malayalm film industry(nor the malayalm lyricist herd with its high priestess, the ultra feminist Sugatha kumari) never could extricate itself from the roots of this heroic physical and metaphysical labyrinth; In the dusty fable of Nandanam (of Balamani demonstrated by Navya nair) which sells the Malayalee Cinderella( endearing to the infant worshippers of Khasak),the sentimental directorial malice makes the presence of the financier felt in the indirect terrain of miracle. It is miracle displayed by the hidden financier god, The modern film maker who interprets the financier myth is enmeshed in the instinct of racial sentimental threads which binds him tight to a breath of suffocating unfreedom.

Now in the post modern premises, as the financier and the financing institutions write the deep destiny of the fourth world paradises the financier of Kuchelan is never more a hidden miracle but a super intellectual hero as he makes his appearance as naked financier of the married girl down the door in Ore Kadal.He takes his worshipper female down to the agonizing fantasies of insanity invalidating her young male partner who is an innocent victim of the adorable womanizer and financier.Ore Kadal is the supreme cinematic expression of the emotional subjugation of a race manipulated by the financier myth. Humanity swims back to the racial memory of the emancipation of the poor Kuchelans., as it listens to the thunderous voice of the emancipation of women, concocted by the world bank. Syamaprasad accepts the theme of emancipation of women ignoring the existence of the male partner who also demands justified micro-financial emancipation ;but the theme propagated by financial capitalism is the emancipation of women, ( not of kuchelans but of gopikas only). what ever be the fate of the young husband. The genius director is overawed with the tragic fate of the financier womanizer embroidered with the vestiges of existential anguish. As the woman climbs the steps towards the upper storey she is emancipated from the time and space of her husband who vanishes into nothingness. So emancipation of women by means of micro financial contribution is the political agenda in which the existence or fate of the vanishing husband is a zero affair;it doesn’t come within the emancipation theme which is a coveted feminist right and a boon in the fantastic decentralization exercise played upon a depleted economy

The dear accomplice of the financier is the hired goonda the racial archetype of which is the heroic Chevakar, who would cut the throat of another hired sub-human for the benefit of ankappanam or the wages of murder. What ever be the historical and cultural premises of the ankam ---sword duel- the philosophy of the quotation goonda and chevakar geminates from the absurd of- murder( for financial reward)—and suicider human bomb is the extreme of the horrible absurdity glorified to the level of noble sacrifice . In the cinematic disposition where the quotation goonda is the hero –( remember the exemplary filmic language of Violence-) finance smeared with blood is the tacit supreme motif.

I

In the contest between the actor and script writer, the script writer emerges victorious only because a noble financier patronises him.—Udayan is the Hero--; the script writer cum director here is a diplomatic tool deployed by the financier. In the battle between actors and superstar financiers, between Thilakan and the financier cum superstar the superstar financier is supported by film chamber and technicians.. The actor is reduced to a caricature and thrown out of the field. It is the financial conquest of cinema and financial imperialism dictates the terms of the heroic space and time ; the artist,. the miserable kuchelan is banished and vanishing whereas his fiancé or soul mate is finally emancipated by the financier.

Get on to the Loud Speaker : the organ trader, the organ donor and the financier are unified into a single sentimental composition . The film that treats the organ donor as a flexible virtuous idiot , romanticizes the financial donor to the level of a glorious tragic hero. In Ore Kadal the middle aged financier subjugates the young husband ; In Loud Speaker the old aged financier subjugates the young illiterate idiot so as to make himself a hero adorned with romantic charm. The illiterate donor belongs to the species of Ayyappan, embedded in the folk epilogue:ayyappanenthina pennu. Pasu pore….?(A wife is of no use to Ayyappan as he is pleased with getting a cow as his life partner); and the rustic idiot does not identify the ethical value of a human organ

A direct contest between the artist director and the financier is demonstrated with remarkable stupidity in Azhakiya Ravanan. The director artist sells his girl for the profit of a project and the caricaturized financier wins the girl; the woman is emancipated from the space of romance to the financier’s nuptial bed allied to the terrorist money won from the Mumbai underworld. The image of financier in Azhakiya ravanan is blunt but he is the natal sibling of the super intellectual financier in Ore Kadal ; The director of Azhakiya Rvanan is humble enough to feel shame in projecting the financier as hero , who lacks a feudal back ground . But the super intellectual hero of Ore Kadal borrowed from the waste bin of Bengali literature is baked in boiling arrogance , a nauseating contempt supplemented by his feminist sex-mate who fiddles the jargon of stale sentimentalism.

The illiterate financier-Palisa Govindan turns a romantic hero in a Jayaram comedy.. The blade of finance that cuts the neck is transformed to soothing romance. Yet financier Govindan is a new generation myth that feeds upon the memory of the ludicrous villainy of the Saint Kochu vava. The major point of contradiction here is the illiteracy of the financier hero but Syama Prasad makes his financier hero an abominable creature as he decorates the crown of the financier with laurels of intellectual recognition

Mizhi Randilum is yet another demonstration of financial heroics in which a financier male and genial joker outshines a humanist doctor and protects a sinking family of damsel twins- another instance of women empowerment agenda set in motion by the financier lads and lords

Now come to the film Madambi a film managed or manipulated by a shameless butcher of the entire history of art. It is a propagandist film in which the heroine is a lamb deployed by a new generation bank and the hero is the convert of a traditional scoundrel who now does the business of financing just to redeem the entire humanity from the multitude of sins that burn the entire surface of terrestrial existence. Now as we live in an age of 2g spectrum. Ipl,. Commonwealth., Lavlin,SantiagoMartin –Kairali nexus episodes we do comprehend the hidden versatility of financial heroism. Yes , we dig up the fable of midnight murder set at Palaery for congested political motives. but erase from memory, the midnight murder of Muthoot Paul the financier prince; midnight murder or day time lottery or burglary, the financier hero registers contribution of crores per day in the accounts of advertisements. It is the tract of reality where we plant the financier hero with a spurious mission- to betray the necessity of truth